The July 23 dispatch of "The Critic's Notebook" in The New Criterion singled out The Art of Trains for special mention alongside an exhibition at The Met Cloisters, a music performance at Bard College, and a new play by Matthew Gasda at the Brooklyn Center for Theater Research. Bravo to editor Jame Panero for his clever opening:

Peter Mosse has been working on the railroad—working on his collection of railroad art and artifacts, that is—for seventy years. 

The Art of Trains is featured in a copiously illustrated spread in the Show Preview section of the August issue of American Art Collector magazine. The magazine's Managing Editor Sarah Gianelli interviewed collector Peter Mosse and show curator Eric Baumgartner in preparation for this show preview, and made a point to describe the show's remarkable diversity in historical era, location, artistic style, and subject. She quotes Mosse:

I collect solely by the subject of railroads and interpreting that as broadly as possible without any restrictions on period or style or country of origin.

Illustrated are four pictures from the show: Adam Normandin's Almost There (2017); Lee Alban's Goggles (2015); Joseph Lorusso's A Last Goodbye (2004); and Peter Insole's tongue twister interior view of a London Underground Northern Line coach, Green and Gold to Golders Green (2006).

The Art of Trains garnered a spread in the August issue of Western Art Collector. True to the magazine's focus, four paintings from the American West are illustrated in the spread: The Golden Spike (1997) by Allan Mardon; The Choctaw Route (c. 2018) by Karen Clarkson; The Sunset over the Arroyo (2008) by Dennis Zieminski; and Track Inspectors (2003) by David Halbach.

Congratulations to María Elena González, who is currently featured in Apropos Hodler: Current Perspectives on an Icon at The Kunsthaus Zürich.

Apropos Hodler seeks to counter one-sided interpretations of Switzerland’s “national artist,” Ferdinand Hodler. The show examines his contemporary relevance and the rich diversity of his formal, cultural, and political impact, bringing four themes of his work into the present day: lanscapes, corporealities, belonging, and enigma / transcendence.

Apropos Hodler is on view through June 30, 2024.

Photo: © 2024 Kunsthaus Zürich, Franca Candrian

Thank you to Ekin Erkan and Sculpture Magazine for the glowing, insightful, and thought-provoking review of Elizabeth Turk: Written in Stone. Erkan extols Turk's technical veracity—Turk has chiseled weight into argent silver whispers—and declares her heiress to the "verbal visual" tradition that has run through Modern art since the era of Kurt Schwitters.

Thanks to Art & Antiques for featuring Elizabeth Turk's lastest works in marble from the gallery show, Written in Stone. The dying art of cursive writing in written communication is formalized in 23 delicate, graceful hand-carved sculptures in the unlikeliest of mediums—marble. As Turk explains:

There is an obvious paradox in a memorial of something as ephemeral and anthropocentric as script created with a sold, seemingly permanent rock gilded with a mineral, gold leaf.

Congratulations to Julie Heffernan on her 6-page feature in the October issue of American Art Collector. Writer Michael Pierce, Professor of Art at California Lutheran University, delves into Heffernan's rich self-portraits set within a series of surreal landscapes sourced from the stream of images that pours through her mind's eye. Pierce writes:

Her paintings provoke immediate associations to archetypal and fundamental ideas of women—the Priestess, the iconography of Mother Mary, primordial Eve and the tree of knowledge of good and evil, and the hagiography of imagery dwelling in Heffernan’s mind as the remembrances of her lost faith. 

The Farnsworth Art Museum in Rockland, Maine, celebrates its 75th anniversary with its summer exhibition, Edward Hopper and Andrew Wyeth: Rockland, Maine. The exhibition brings rare loans of Rockland works on paper back to the city that inspired them, supplemented by select objects from the collections of the Farnsworth and the Wyeth Foundation for American Art. One of the star attractions in the show is Hirschl & Adler's Hopper masterpiece, Talbot's House. The Queen Anne-style ship captain's house that inspired this brilliant work is a short 10-minute walk from the museum.

Elizabeth Turk’s The Tipping Point: Echoes of Extinction comprises vertical sound sculptures of bird species that are endangered or are extinct. Each artwork is a sculptural visualization of the call of a bird that has reached, or surpassed, a tipping point. Whether it is a story of loss (the Ivory-billed Woodpecker) or regeneration (the Bald Eagle), each sculpture stands as a totemic memorial to a particular species, reminding us of our role in the precious and delicate—and quickly changing—environment. 

Congratulations to Jeanne Brousseau on her feature in Raw Vision Magazine! Thank you to author Emily B Schilling and the editorial team at Raw Vision for highlighting Jeanne's remarkable work. Jeanne's debut solo exhibition with the gallery remains on view through March 17, 2023.

Thank you for Margaret McCann and Two Coats of Paint for their review of Julie Heffernan's solo exhibition at the gallery! We are thrilled that these works resonated so deeply, and joyously, with Margaret. The exhibition remains on view at Hirschl & Adler through March 17.

Thank you for Brian P. Kelly for highlighting H&A's installation of George Tooker's Stations of the Cross in his review of this year's Art Basel Miami Beach for The Wall Street Journal! Our presentation of Tooker's work is part of the fair's Kabinett program, which allows exhibiting galleries to mount smaller, more focused presentations within their booths. We are honored to feature this masterpiece by George Tooker in Miami!

Congratulations to Elizabeth Turk on the opening of her two-person show at the Frederik Meijer Gardens & Sculpture Park! Double Take brings together the work of two past MacArthur Fellowship recipients, Turk and acclaimed sculptor Mel Chin. Both artists use a variety of techniques and materials in their work, focusing on themes related to the natural world: environmental protection, conservation, and endangered species. Thank you to the team at the Meijer Gardens for bringing the work of these two artists together! The exhibition remains on view through March 26, 2023.

Congratulations to Elizabeth Turk on the occasion of her solo exhibition at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. Visualize avian voices via sculptures inspired by the recorded calls of extinct or endangered birds. Resembling a forest of vertical forms, the sculptures by California- and New York-based artist Elizabeth Turk are enhanced by interactive elements: scannable recordings of the lost or endangered birds’ voices. The recordings, many sourced from the Macaulay Library at the Cornell Lab of Ornithology, are visually represented by lines of varying lengths. After the California wildfires drastically depleted bird populations, Turk began re-orienting the sonograms vertically and into three dimensions for her sculptures. “These structures,” Turk said, “are made for interaction to prompt thought and spark conversation by begging the question, ‘Are we creating a silence?’”

In his review of the major Winold Reiss show at the New-York Historical Society, New York Times art critic William Heinrich singled out the stunning effect of the “salon-style” hanging of a selection of Reiss’s portraits of African Americans animating the middle room of the exhibition. Calling the portraits “exceptional,” and [combining] “the presence of oil painting with the documentary grit of photography,” Heinrich specifically noted “Langston Hughes, dreamy and endearing, [who] has the forehead of an Egyptian monument, while Countee Cullen, only 22 but already a famous poet himself, squints with a young man’s fragile self-importance.”

Reiss’s Harlem portraits were occasioned by a fortuitous commission from Dr. Alain Locke to provide illustrations for the March 1925 issue of the socio-politcal journal Survey Graphic devoted to “Harlem: Mecca of the New Negro.” Locke, a distinguished academic and popularly, “the dean of the Harlem Renaissance,” introduced Reiss to his magazine audience as “a master delineator of folk character by wide experience and definite specialization.... He is a folk-lorist o the brush and palette, seeking always the folk character back of the individual, the psychology behind the physiognomy (Survey Graphic, p. 653). Reiss’s Harlem portraits encompassed a wide range of uptown citizens, from the anonymous to the celebrated, all treated with the same degree of artistic mastery and respect for a shared human dignity. Notables in the Historical Society show include Locke himself, Hughes, Zora Neale Hurston, W. E. B. Du Bois, and Paul Robeson.

Hirschl & Adler is delighted to present another of Reiss's Harlem Renaissance portraits: this arresting image of the African American composer, essayist, music scholar, and activist Robert Nathaniel Dett. Dett was a graduate of Oberlin College in Ohio and longtime choral director at Hampton University. He was much honored in his lifetime and achieved international acclaim touring Europe with his Hampton Institute Choir. After Dett's premature death while touring for the USO during World War II, public recognition of his myriad contributions faded. Dett's seminal work as a composer, melding African American spiritual music with the Western European classical idiom, has been recently rediscovered and newly recorded both for its own excellence and as part of the ongoing recognition of the contribution of African American artists to our national culture.

Congratulations to gallery artist María Elena González and her works' inclusion in Beyond the Sounds of Silence. Latin-American Artists Connecting Sound, Art, and Society at the Lowe Art Museum, University of Miami. Curated by Aluna Curatorial Collective, this exhibition explores image, sound, memory, and perception through the form and language of musical implements, including the human voice. The exhibition brings together leading voices in contemporary art from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Peru, Uruguay, and Venezuela. Thank you to the curators and to the team at the Lowe!

Additionally, María Elena González will join Lowe Art Museum Director Dr. Jill Deupi for a virtual conversation on Wednesday, August 25 at 5:30pm to discuss her work and the exhibition. You can register for the event through the Lowe Art Museum website.

Even during his lifetime, and at the height of his career, the extraordinarily successful German American artist Winold Reiss (1886–1953) defied categorization. Steeped in the German arts-and-crafts tradition with its permeable boundaries between fine and applied arts, Reiss challenged the hierarchical world of American art and practiced a broad array of artistic disciplines with an excellence and fluency that few could rival.

The remarkable diversity of Reiss’s work is beautifully presented in The Art of Winold Reiss at The New-York Historical Society. The exhibition features 150 works, many never before exhibited, with concentration on the work he produced in New York City. Highlights include Reiss's iconic portraits of Harlem Renaissance figures like Zora Neale Hurston, Langston Hughes, and Alain Locke; furniture and interior design interior design projects; and graphic design.

Congratulations to James Everett Stanley on his wonderful feature in the Provincetown Independent! Thank you to Abraham Storer and Agata Storer for the thoughtful words and images. We are thrilled to host James' debut solo exhibition with H&A Modern this fall!

Congratulations to María Elena González on her inclusion in Caribbean Transitions at the American University Museum at the Katzen Arts Center! Curated by Keith Morrison, this exhibition explores the character, complexity, and originality of art by Caribbean American artists as they expand the art of the North American continent. The 20 artists in the exhibition are respected internationally, and many are represented in major museums in the United States and abroad. Their work spans painting, printmaking, photography, video, and installation. These artists reveal unique relationships between the Caribbean and the US in ways that expand and enrich a wider understanding of American art and culture. The Caribbean is the historic fulcrum of the cultures of the Americas and the art in this exhibition exemplifies that importance.

Thank you to Curator Elissa Watters for organizing Louisa Chase: Fantasy Worlds at the Brattleboro Museum and Art Center! This exhibition, which focuses on Chase's recurring use of specific motifs in printing, drawing and sculpture, opens today. Additional thanks to Sarah Freeman and the entire staff at BMAC for hosting the show. The exhibition remains on view through June 12, 2022.

Congratulations to Lily Cox-Richard on the review of Weep Holes, her solo exhibition at MASS MoCA, in The Boston Globe! Thank you to Murray Whyte such an insightful take on the artist's work. Weep Holes remains on view through January 2023.

The implied futility is intentionally comic, and therein, I think, lies the point: Nothing is ever perfect, especially now, so give yourself a break. But the show is less about futility than the value of keeping the struggle alive, and the collective work of redress and repair in an unendingly anxious moment in American life.

Congratulations to John Moore for his inclusion in the thematic group exhibition, The View from Here, at the Center for Maine Contemporary Art! This celebratory exhibition coincides with CMCA’s 70th anniversary, and the unifying concept will be unique and dynamic ways of looking at the world through new or recent works, underscoring CMCA’s forward-thinking trajectory. Congratulations to all of the artists included and to the staff of CMCA!

Congratulations to gallery artist María Elena González on her inclusion in Sonic Terrains in Latinx Art at the Vincent Price Art Museum! Curated by Javier Arellano Vences, Pilar Tompkins Rivas, and Joseph Daniel Valencia, this landmark exhibition focuses on sound practices by Latinx artists, both past and present. The intergenerational artist list includes 30 artists and collectives and we are thrilled that María Elena González is counted among them.

Congratulations to Lily Cox-Richard on the opening of her solo show, Weep Holes, at MASS MoCA! Thank you to the exhibition's curator, Denise Markonish, for her dedication and support of Lily's work. The exhibition is on view through January 2023. For more information on Weep Holes, please use the link below. 

Congratulations to David Ligare on this lengthy write-up on his work and ethos! Many thanks to Matt Gonzalez and to Juxtapoz Magazine for such an insightful essay. To read the article, please use the link below.

Congratulations to Angela Fraleigh on the opening of her recent solo museum exhibition, Splinters of a Secret Sky, opening Saturday, October 9! This exhibition is organized by Dr. Emily Stamey, Curator of Exhibitions, and will remain on view through December 11, 2021. Additionally, the artist will serve as the Falk Visiting Artist at UNC Greensboro. Fraleigh will give an artist's talk on Thursday, October 21, at 7pm. For more information on the exhibition and artist's talk, please use the link below.

We are so pleased to have Louisa Chase represented in this exhibition at the Parrish Art Museum! Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020, celebrates the work of 42 artists who over the last 70 years have lived and worked in the Hamptons. Thank you to the Parrish Art Museum and to the organizer of the exhibition, the Museum’s Lewis B. and Dorothy Cullman Chief Curator Alicia G. Longwell, Ph.D., for including Louisa in the show. To learn more, please follow the link below.

Congratulations to Colin Hunt on his solo exhibition being named an "Editor's Pick" on Artnet News! Hunt's show, So Much Remains to Be, remains on view through April 23rd.

We are thrilled to share this interview between Angela Fraleigh and Sarah Cascone of Artnet News! The two discuss Angela's process and daily routine in the studio, as well as her upcoming solo exhibition at the Weatherspoon Art Museum. Please use the link below to read the full interview. 

Like a lot of artists, I probably most admire all the stuff I want to steal for my own work. I guess the “how’d they do that” quality of a thing, coupled with a depth and breadth of human experience and juicy poetic stuff to chew on. In painting, I like the topography of a surface, something that optically resonates.

Thank you to Brienne Walsh and Forbes for their coverage of Angela Fraleigh's debut solo show with H&A Modern!

At first glance, the paintings in “Fluttering still,” an exhibition of new works by Angela Fraleigh currently open at Hirsch & Adler Modern through March 12, look decidedly rooted in the past. Women, some of them nude, some of them clothed in flowing garments, lie in repose within the canvasses. The figures have flushed skin, and long, impossibly soft hair rendered in skilled, confident brushstrokes...Further examination reveal the paintings exist very much in the 21st century—and perhaps may even be prophetic.

Thank you to Kate Brown for listing the Frank Walter retrospective at MMK Museum of Modern Art (Frankfurt, Germany) in Artnet News' list of 10 acclaimed, but missed, exhibitions! This landmark show was certainly a highlight for both the Walter family and H&A in 2020. Please use the link below to read all of Kate's comments on the show and to see the entire list of exhibitions.

I sadly missed a major retrospective on Frank Walter at MMK in Frankfurt am Main—a fascinating subject in any year, but a show that felt even more urgent during this summer of resurgent Black Lives Matter protests....

Thank you to Ann Landi and Introspective Magazine for including Angela Fraleigh in their round-up! The gallery is excited for Angela's debut solo exhibition, opening in February 2021!

Many of Angela Fraleigh’s haunting and carefully staged tableaux feature women drawn from the annals of Baroque and Rococo “boudoir paintings”—titillating scenes meant to fan the ardor of the viewer. But she puts a contemporary twist on this iconography by giving her characters more agency than was typical of earlier eras.

Congratulations to Andy Mister on the opening of Twenty Twenty at The Aldrich Contemporary Art Museum! This group exhibition, organized by the museum's Exhibitions Director Richard Klein, brings together seven artists who were commissioned by the museum to create works on paper which specificaly address the election season of 2020. The artists will add new work to the exhibition in early December and early February in an effort to present a full response to the election cycle. The exhibition closes March 14, 2021.

While H&A is open and welcoming visitors, we understand that there are those of you who are unable to visit the gallery. As a result, we are happy to share this virtual tour of our current exhibition. Produced by Jonah Koplin, this short video allows those of you who cannot travel to the gallery a chance to enjoy Elizabeth Turk's latest body of work. We hope to see you again at the gallery soon!

Hirschl & Adler Modern is proud to present an exciting new project, Tipping Point—Echoes of Extinction, the latest body of work by the internationally-recognized sculptor Elizabeth Turk. While furthering her exploration into the overlap of art and nature, Turk confronts a globally important issue: Extinction. Tipping Point employs sculpture, sound, and technology to ask: what role can humans play in the preservation of a species, including our own? Are we at a tipping point? Turk highlights this relevant environmental concern with her Sound Columns—elegant visualizations of the lost voices of birds and sea mammals. These 27 sculptures, fabricated in wood, aluminum, 3-D printed ABS filament, and bronze, take their form directly from the calls of various animals that are, today, extinct or endangered.

The 16-page catalogue includes a checklist with links to the bird calls and aquatic mammal sounds, many archived at the Macaulay Library of the Cornell Lab of Ornithology.

Click here to learn more about the exhibition.

In the words of Motown R&B singers Marvin Gaye and Tammi Terrell, we know there “Ain’t Nothing Like the Real Thing,” but for the moment Hirschl & Adler is pleased to bring you the joy of beautiful objects at a distance. Our current exhibition, named after the 1968 hit song by Ashford & Simpson, features a wide variety of American paintings and Neo-Classical furniture along with a selection of modern and contemporary works.

Leaf through the pages of this e-catalogue to explore an exhibition curated to offer an irresistible selection of works at a gentle price point. As the song goes on to say, “I’m well aware nothing takes / The place of your being there,” but for now, “let’s stay together” online.

Congratulations to the Walter family and all of those associated with the Estate of Frank Walter on the opening of this massive exhibition! Special thanks for Barbara Paca for her tireless efforts on behalf of Frank Walter, and to Susanne Pfeffer for organizing such an important survey of the artist's work.

Walter’s creativity had an unbelievable intensity, which one can see, feel, and sense in his work. It was only in art that he felt liberated: free of the brutality that lay in normative attributions, which was a permanent presence beyond his artistic work. Frank Walter believed that creating art was an inherently subversive act, and one that uniquely enabled him to assert the right to lead his own life, as determined and defined by himself.

The work of the native Antiguan and Barbudan artist Frank Walter (1926–2009) encompasses numerous paintings, drawings, sculptures and writings, that will here be on view in a museum for the first time.

One of the most prolific and creative exponents of American Impressionism, Childe Hassam (1859–1935) applied his distinctive vision to a range of themes over a long and varied career. Hassam’s aesthetic versatility was also manifested through his choice of media, which ranged from oil and watercolor to pastel, etching, and lithography. In 1976, Stuart Feld of Hirschl & Adler Galleries chose to devote his attention to Hassam and compile a complete directory of the artist’s known works in oil, watercolor, pastel, ink, and graphite. As the daunting project ramped up, Kathleen Burnside joined the project in 1979 and leads the critical cataloguing side of the project.

Fast-forward to 2020 and weeks of mandated at-home quarantine. The global COVID-19 pandemic has had unintended consequences for Feld and Burnside: ample time to enter data, and plenty of hours in the day in which to write. According to Burnside, “Self-quarantine has been a boon for data entry!” The team has uncovered a wealth of new information, much of which has never been published, and certainly never so thoroughly organized and accessible.

Self-taught art (also known as “Outsider art”) rejects convention. In that spirit, we have taken a different approach in this e-catalogue, which is presented as a dialogue instead of a list of works with short essays. Frequently asked questions about this often perplexing field are answered by Hirschl & Adler's own Tom Parker, a well-respected authority and lecturer on the subject.

Our hope is that this format will provide an easy-to-understand introduction to an area of the art market that is often confusing and difficult to approach. Better yet, we hope that it might introduce some to an exciting field that is still in the process of gestation and discovery. History is being made, right now, by the legacy of these works, and the collectors, curators, and scholars that are moved by their visionary and emotional content.

Congratulations to David Ligare on his inclusion in the group exhibition, Mortality: A Survey of Contemporary Death Art, curated by Donald Kuspit, at the American University Museum at the Katzen Arts Center! Originally scheduled to be on view April 4 to May 24, 2020, the exhibition had to be canceled due to the ongoing COVID-19 pandemic. Despite the loss of the physical venue, the exhibition catalogue has been made available to the public. Please use the link below to learn more about the exhibition as well as view the entire, full-color catalogue, with its accompanying essay by Mr. Kuspit.

Hirschl & Adler has been a champion of women artists of the highest caliber for decades. The major criterion for inclusion at the gallery has always been a very simple one: a work of art needs to be aesthetically superlative in both nature and quality. As long as a work of art meets this goal, the artist’s race or gender has never precluded us from handling it. While an artist’s origin certainly informs our appreciation of their work, it should never be something that works against them. Ultimately, in our mind, a work of art stands by itself.

As we celebrate Womens History Month, we are very pleased that many others are joining us in celebrating these extraordinary artists who for centuries have been battling unfair societal leanings. We hope that this e-catalogue of selected works by our best female painters and sculptors, spanning the 19th to the 21st centuries, stands as indisputable evidence of their prodigious merits and abilities.

In response to the recent escalation of the COVID-19 pandemic, and in a proactive effort to protect the health and well-being of our staff, our clients, and our community, Hirschl & Adler Galleries will be closed to the public on Monday, March 16, and until further notice. H&A will closely monitor the situation as it evolves and heed the advice of governmental and healthcare authorities. We will update everyone in this forum and on our social media platforms when we determine that it is safe to reopen to the public.

We hope that you and your loved ones remain safe and healthy while the nation weathers this unprecedented public health crisis, and that we can all resume our daily lives as soon as possible. We look forward to reconnecting with you on the 9th Floor of the Fuller Building in the very near future.

Exhibition Extended until Sept. 6!

The exhibition celebrates the life and career of the contemporary painter and printmaker who emerged out of New York’s male-dominated art scene in the 1970s as a strong female presence in the Neo-Expressionist movement of the 1980s. 

Congratulations to Lily Cox-Richard for her inclusion on Artnet's "Which Emerging Artist Dominated 2019?" List

I became aware of Lily Cox-Richard’s sculpture in 2016, when she had solo shows at Artpace in San Antonio and She Works Flexible in Houston; I appreciated her work’s wit and attention to detail, but above all, its rigorous engagement with the histories of sculpture and materials. Her new work for the Blanton’s Contemporary Project responds to the museum’s collection of plaster casts of classical sculpture, using 3D scanning and an ancient faux-marble technique to prompt critical thinking about whiteness. As artists and curators continue to interrogate the canon, Lily’s incisive material investigations, which will be the subject of a MASS MoCA show in 2021, will continue to resonate.

—Claire Howard, Assistant Curator, Blanton Museum of Art

Congratulations to Lily Cox-Richard on the review of her current solo exhibition at the Blanton Museum of Art, Lily Cox-Richard: She-Wolf + Lower Figs.! Andy Campbell reviews the show, which closes December 29th, in the December issue of Artforum. Look for it on newstands or online!

The Louise and Bernard Palitz Gallery at Syracuse University Lubin House presents Kamikaze Curiosity: Louisa Chase Prints, on view beginning October 21.  Curated by Andrew Saluti, assistant professor/ program coordinator in the Graduate Program in Museum Studies at Syracuse University, this exhibition celebrates the recent gift of 58 prints and two portfolios donated to the university by the Louisa Chase Estate.

Congratulations to Lily Cox-Richard on the opening of her solo exhibition, She-Wolf + Lower Figs., at the Blanton Museum of Art!

Cox-Richard presents new work that responds to the history and materiality of the Blanton’s William J. Battle Collection of Plaster Casts, a set of nineteenth-century replicas of ancient Greek and Roman sculptures and one of the few remaining collections of this kind in the United States. Such casts were once an integral part of artistic training throughout the Western world and were believed to embody aesthetic and cultural standards of taste, beauty, democracy, and learnedness. Cox-Richard’s sculptural installation invites us to consider the legacy of these objects, raising questions about their role in perpetuating notions of physical “perfection” and “whiteness” as ideal.

Thank you to Claire Howard, Assistant Curator of Modern and Contemporary Art, Blanton Museum of Art, for organizing this exhibition.

Congratulations to Robert Minervini on the completion of his massive mosiac mural!

The public art piece “Hyper-Natural Bay Area” by Robert Minervini opened along with Harvey Milk Terminal 1 at San Francisco International Airport. The project took two years, cost $370,000, and is composed of hundreds of thousands of tiles, each set by hand...The mosaic is one of five permanent pieces paid for by the San Francisco Arts Commission to honor the 50th anniversary of the city’s “percent for art” program, which necessitates that either 1% or 2% of the total construction cost of any project be designated for public art.

Thank you to everyone who joined us for our panel discussion from May 7, 2019, celebrating the exhibition "Honoré Sharrer: Claws Sheathed in Velvet." The panel featured New York-based artist Natalie Frank, ArtTable Executive Director Jessica Porter, and St. Louis Art Museum curator of American art Melissa Wolfe. The discussion was moderated by New York artist and educator Sharon Louden.

To view the discussion, please use the link below:

In paintings that resonate with post-industrial America, Moore rearranges the world.

Winold Reiss eludes classification at Hirschl & Adler Galleries exhibition in New York. 

Even during his lifetime, and at the height of his career, the extraordinarily successful GermanAmerican artist Winold Reiss (1886–1953) defied categorization. Was he a fine artist or a designer, illustrator or architect, printmaker or muralist? Steeped in the German arts-and-crafts tradition with its permeable boundaries between fine and applied arts, Reiss bucked the hierarchical world of American art by practicing a broad array of artistic disciplines with an excellence and panache that few could rival.

Congratulations to John Moore on the opening of his solo exhibition, Resonance, at the Center for Maine Contemporary Art! This survey exhibition is John's first in solo exhibition in a Maine museum and his first at CMCA (then Maine Coast Artists) since the group exhibition, Looking at the Land, in 1993. The exhibition is accompanied by an illustrated catalog with an essay by Christopher B. Crosman, former director, Farnsworth Art Museum and founding curator, Crystal Bridges Museum of American Art, and a poem by critic and poet Vincent Katz.

Congratulations to John Moore and Stone Roberts on their participation in The American Dream at the Drents Museum in Assen, The Netherlands! the Drents Museum (The Netherlands) and the Kunsthalle Emden (Germany) have joined forces to mount the international double exhibition The American Dream. This spectacular survey of American Realism from 1945 to the present is on view simultaneously in both institutions.